The characteristic theme of d’Erlette’s[1] essay on subcultural nihilism is the role of the participant as writer. It could be said that Derrida uses the term ‘textual situationism’ to denote not narrative per se, but prenarrative.

The primary theme of the works of Burroughs is the bridge between class and sexual identity.

But Lyotard uses the term ‘Lyotardist narrative’ to denote not deconstruction, but subdeconstruction. Foucault suggests the use of Foucaultist power relations to read and modify class.

However, Lyotardist narrative implies that sexual identity has significance. The absurdity, and eventually the economy, of Foucaultist power relations which is a central theme of Burroughs’s Naked Lunch is also evident in Junky.

2. Consensuses of absurdity

“Society is meaningless,” says Bataille; however, according to Long[2] , it is not so much society that is meaningless, but rather the dialectic, and therefore the genre, of society. Therefore, the premise of subcultural nihilism holds that narrativity is fundamentally unattainable, given that Foucaultist power relations is valid. Porter[3] suggests that we have to choose between subcultural nihilism and subtextual theory.

In a sense, the subject is contextualised into a Lyotardist narrative that includes culture as a reality. Debord uses the term ‘subcultural nihilism’ to denote the difference between class and consciousness.

However, if Lyotardist narrative holds, we have to choose between Foucaultist power relations and the dialectic paradigm of narrative. Bataille promotes the use of Lyotardist narrative to attack the status quo.

It could be said that the premise of precapitalist cultural theory implies that reality is a product of the masses. The subject is interpolated into a subcultural nihilism that includes sexuality as a paradox.

3. Lyotardist narrative and Foucaultist power relations

In the works of Burroughs, a predominant concept is the distinction between feminine and masculine. In a sense, Derrida suggests the use of subcultural nihilism to challenge sexual identity. An abundance of discourses concerning not demodernism, as Foucaultist power relations suggests, but neodemodernism exist.

“Class is a legal fiction,” says Sontag; however, according to Tilton[4] , it is not so much class that is a legal fiction, but rather the paradigm, and eventually the economy, of class. Therefore, the characteristic theme of Abian’s[5] critique of postdeconstructivist discourse is the role of the observer as reader. The subject is contextualised into a Foucaultist power relations that includes language as a totality.

“Society is part of the genre of art,” says Baudrillard. Thus, in Sandman, Gaiman reiterates Sontagist camp; in Stardust, however, he analyses subcultural nihilism. The subject is interpolated into a Foucaultist power relations that includes truth as a paradox.

Therefore, Dietrich[6] holds that we have to choose between Foucaultist power relations and Foucaultist power relations. Debord promotes the use of subcultural nihilism to attack capitalism.

However, if Foucaultist power relations holds, we have to choose between subcultural nihilism and postcultural socialism. Any number of narratives concerning the dialectic paradigm of reality may be revealed.

It could be said that the subject is contextualised into a subcultural nihilism that includes narrativity as a whole. Foucaultist power relations states that class, somewhat surprisingly, has objective value, but only if reality is distinct from language; if that is not the case, we can assume that the Constitution is capable of significance.

But Lacan uses the term ‘subcultural nihilism’ to denote a mythopoetical reality. Several discourses concerning the bridge between culture and society exist.

4. Discourses of failure

The main theme of the works of Gaiman is the futility, and some would say the paradigm, of neocapitalist class. However, the characteristic theme of Scuglia’s[7] model of Foucaultist power relations is the role of the participant as writer. The premise of subcultural nihilism suggests that sexual identity has intrinsic meaning.

If one examines Foucaultist power relations, one is faced with a choice: either accept subcultural nihilism or conclude that consensus is created by communication. Thus, Debord suggests the use of Foucaultist power relations to read and modify society. Foucault uses the term ‘the postcultural paradigm of narrative’ to denote the fatal flaw, and hence the absurdity, of dialectic sexual identity.

It could be said that the subject is interpolated into a Foucaultist power relations that includes narrativity as a whole. Sargeant[8] states that the works of Gaiman are not postmodern.

Therefore, Bataille’s critique of Foucaultist power relations implies that consciousness is used to oppress minorities, given that the premise of Foucaultist power relations is invalid. Derrida uses the term ‘subcultural nihilism’ to denote a self-fulfilling totality.

However, Foucaultist power relations states that reality is intrinsically responsible for the status quo. An abundance of theories concerning Foucaultist power relations may be discovered.

5. Gaiman and Foucaultist power relations

The primary theme of the works of Gaiman is not, in fact, deconstruction, but subdeconstruction. But the example of Marxist capitalism depicted in Gaiman’s The Books of Magic emerges again in Death: The Time of Your Life, although in a more mythopoetical sense. If Foucaultist power relations holds, we have to choose between the semanticist paradigm of consensus and neodialectic textual theory.

In the works of Gaiman, a predominant concept is the concept of subconstructive consciousness. Therefore, Baudrillard uses the term ‘Foucaultist power relations’ to denote the role of the participant as artist. Many theories concerning not materialism per se, but postmaterialism exist.

Thus, Derrida’s model of cultural nationalism holds that the State is capable of deconstruction, but only if truth is interchangeable with art; otherwise, reality, paradoxically, has objective value. The subject is contextualised into a Foucaultist power relations that includes truth as a whole.

Therefore, Sontag promotes the use of Foucaultist power relations to deconstruct capitalism. In Sandman, Gaiman deconstructs Foucaultist power relations; in Death: The High Cost of Living, although, he examines Foucaultist power relations.

Thus, Baudrillard suggests the use of Sartreist absurdity to challenge sexual identity. The fatal flaw, and subsequent rubicon, of Foucaultist power relations intrinsic to Gaiman’s Stardust is also evident in Death: The High Cost of Living.

In a sense, Finnis[9] suggests that we have to choose between subcultural nihilism and the capitalist paradigm of context. The premise of Foucaultist power relations holds that sexuality is part of the failure of truth.

1. d’Erlette, F. ed. (1987) The Reality of Paradigm: Foucaultist power relations in the works of Koons. Loompanics

9. Finnis, I. C. ed. (1993) The Stasis of Class: Subcultural nihilism and Foucaultist power relations. University of Illinois Press

The essay you have just seen is completely meaningless and was randomly generated by the Postmodernism Generator. To generate another essay, follow this link.

The Postmodernism Generator was written by Andrew C. Bulhak using the Dada Engine, a system for generating random text from recursive grammars, and modified very slightly by Josh Larios (this version, anyway. There are others out there). More detailed technical information may be found in Monash University Department of Computer Science Technical Report 96/264: “On the Simulation of Postmodernism and Mental Debility Using Recursive Transition Networks”. An on-line copy is available from Monash University.

If you enjoy this, you might also enjoy reading about the Social Text Affair, where NYU Physics Professor Alan Sokal’s brilliant(ly meaningless) hoax article was accepted by a cultural criticism publication.